The floor of a utility transport vehicle hovers slightly off the ground. Sharp walnut cones pierce through the sculpture, serving to precariously support the metal floor while also rendering it an active threat. The van’s function to transport cargo is inverted: its floor becomes the thing carried.

There was a moment before pressing the ON button, where I was holding a vibrating cylinder unsure of what to do with it or, what exactly it wanted from me. Then I began brushing my teeth.

Runoff printer ink roams free of its disposable cartridge as it permeates the surface of clay slabs. The inorganic is projected onto the organic, an examination of alternative lives of materials that are created for our personal use.

Looking down at my salad, and then to the left side of the plate, the choice between the larger and smaller forks was not immediately obvious.

A bowling ball performs a balancing act on top of a strip of stainless steel. Its thumb grip projects the glow of an LED light.

A peephole is inverted and transformed into an aperture into the space. We see the show and the image of the show warped in a fisheye lens.

We arrive in an environment faced with objects that reject their own categorization. It is a reckoning with the logic of the object that, once established, sculpturally allows for an excavation of subtext and form.